Эффект присутствия

Listen to a 20kHz sine wave. We are all probably actually don't hear that. Now listen to a 20kHz square wave. And they sound different. Why do they sound different if we can't hear above 20 kHz? You shouldn't be able to hear their components - overtones. I think that there is a much more in a supersonic realm that we don't perceive as a sound. But it have an effect on us. 

In any digital recording there are a weird effects going on all the time. I'm going to ruin your life because once you become aware of that artifacts in digital recording you can never unhear them. You know - they will always annoying you. What are they do to you? If you do a pcm style hi-res recording all the day you will get tired and sick of hearing stuff. On the next day you do one with a dsd - you will go home after and say ok, I want to listen this again.

It doesn't sound better but it does feel better.


Chet Baker - No Problem

Новое про джаз  

Моя класификация музыки по типам наркотиков: 

Джаз=Героин, Рок=ЛСД, Техно=Экстази   

Несколько лет выделял для себя музыку бомжей (Moondog, Charles Gayle, Аркадий Северный). Но вдруг поймал себя на мысли, что музыка людей за секунду до смерти цепляет еще сильнее (Klaus Nomi, Kurt Cobain, Александр Башлачев). Похоже на маньяка убийцу - заглядываешь в глаза умирающего и видишь там истину и бога.  Посмотрел на днях фильм Опасайтесь мистера Бейкера про барабанщика Cream. Он рассказывает про бибоперов и героин. "Под героином не страшно и ты играешь то, то тебе хочется". Как будто сильный ветер сдувает весь туман (налет цивилизации, воспитания, фобии, комплексы и желания) и остается только пустота. Как будто ты шагнул с крыши. За эти 5 лет падения об асфальт джазеры записывают супер глубокие тру альбомы.  Тоже самое делают и буддисткие монахи и певцы рагги, но только они умирают не 5 лет, а 80 лет.  

Есть джазовые музыканты, которые комплексуют, стараются сыграть лучше, чем-кто то, сравнивают себя с кем-то. А есть те, которые поют песню смерти и жизни.


sound recording

за год поменялось представление о звукозаписи и сетапе:

было в 2017:
current setup for field recording:
source (4 mics: akg 414 *2 stereo  pair, coles 4038, electrovoice re20) -> sound devices 442 -> nagra  iv-s -> rme babyface pro -> destination (bandcamp)

сейчас в 2018:
less microphones more real acoustics you hear!
at location: source (stereopair Schoeps MK2H = omni AB stereo for good room/ stereopair Schoeps MK4 = cardioid ORTF for bad room) -> nagra iv-s //
at home: nagra iv-s -> mytek adc 192 ->(aes) sound devices 702 -> audition -> destination (vynil+bandcamp)


Schoeps CMC52h (ab stereo) -> Lipinski Sound l409 preamps -> Nagra IV-S



Two good channels is going to cost a lot of money. Typically you might  use a stereo pair - Mic Amp - External A/D converter - AES to your  digitial recorder. In this set up the external amp and A/D converter are  being used on the assumption that even the amps and the A/D conversion  on a device like the 722 are not good enough.

The set up I use is Schoeps stereo pair  (with various capsules)-  Pendulum Audio Tube Mic Pre - Dan Lavry A/D Converter - AES to 744T. The  sound that that set up produces is a world away from recording directly  to the 744T even though it is an excellent recorder.  The quality of  each component  in the chain is really important, but the the quality of  your analog to digital conversion is going to make a big difference.


drums: keep time & cut time

"When engineers record on 24-track Studers, they can't align anything. The only way to engage any time alignment is by digitizing the analog recording. What they don't tell you is that even when a recording is set down on 24-track tape, it's often dumped into ProTools to time-align it, after which it's converted back to analog."

Before the recording session, McGrath measured all the microphones in relation to each other and "the ball." The Grados turned out to be approximately 5 ft closer to the trio than the ball, and the ORTF pair for the slight accent over the piano was even closer. When he edits the masters, he will apply a mathematical formula based on the fact that, at sea level, sound travels at approximately 1 foot per millisecond. Using a computer to view graphs of when each of the eight mikes captures the strike of a single note on the piano, he will retard the main mikes the equivalent of 5 ft in relationship to the sphere, and the others a bit more, so that all waveforms are in synch.

Han Bennink - Nerve Beats

открытия этого лета
1. Janis Joplin звучит круче чем Doors
2. В John Coltrane - Interstellar Space барабаны повернуты на 90 градусов:
вверх справа, а низ слева. В правой колонке играют оверхеды, а в левой бочка и напольный том. Из-за этого и создается эффект нереальной сложности.


diving into soundsystems: from mini-jack to mini-xlr :(

no time for mixing/mastering...
lets go mixing online!

current setup for field recording:
source (4 mics: akg 414 *2 stereo pair, coles 4038, electrovoice re20) -> sound devices 442 -> nagra iv-s -> rme babyface pro -> destination (bandcamp)

upd. mixing = for studio works
stereo pair for bootlegs:
schoeps pair (mk2h/ AB for good room, mk4 / ORTF for bad room) -> sound devices 702 -> nagra iv-s (saturation) -> rme babyface pro